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20th/ 21st Century Canadian Artist Imagined Interview: ‘A.J. Casson’ (Member of the Group of Seven) Talking from the dead,..
By: Nick Folkes
Date: March 17th, 2023
Question 1:
From 1898 until 1921 when they first discovered Insulin, did you know anyone that got Diabetes & died up until that point?
Answer:
I personally knew 100s of people that got Diabetes and died within 3 days of Diagnosis. Once Sir Banting and Best discovered Insulin in 1921 at the University of Toronto, they went onto to been responsible for saving and giving a new lease on life to millions of people around the world.
They also most certainly deserved receiving the Nobel peace prize for there astonishing Scientific discovery for that time period in history. This is also why in 1975 I received an honours degree from University of Toronto because I was intrigued by this discovery all throughout my life.
Question 2:
In the 1920s you were part of the Group of Seven and also during the Alcohol Prohibition. Did you ever use those Al Capone type speak easy's and did you know Al Capones gang use to transport Whiskey from Buffalo to Southern Ontario on skinny black boats during forecasts of calm waters?
Answer:
Alcohol causes a lot of violence and I am an intellectual that wants to preserve my brain power. I knew Alcohol would make me stupid and repulsive, so I decided after WW1 to jump onto the wagon and enter and maintain Sobriety.
Now I have a sound mind as a result that’s in control. I knew about the smuggling operations but so did all the federalies and a lot of the time they did nothing about it because they were too lazy or scared or a combination of the two.
I just enjoy a little bit of Marijuana every day when I did my paintings because it boosted my creativity and imagination and Marijuana is safe an no-one dies from its use. I also know not to do Narcotics either because I’ve seen too many people turn into Monsters on them.
Crackheads are always angry and never shut their mouths, there always talking blasphemy and aggravating everyone around them because their Demons until Security/Police deal with them.
Question 3:
What roles did you play during WW1?
Answer:
As a teenager to young man, I was stuck in a community full of thuggery and crime where I had to fight to survive. Also, at that age due to my actions I was considered a valuable intelligence asset but they wouldn’t allow me to go and fight on the battle field due to the risk of been killed.
Instead, I would provide intelligence and strategy to the black guard that would lead to the capture and killing of enemy combatants and high-ranking enemy leaders.
After the war I was patronized and criminally harassed by terrorists from my own country of Canada until the outbreak of World War 2, you see WW1 never really ended, there was just a brief pause and inclusion of economical fakeries in its affairs for 15 years.
By 1933 I wasn’t a young man anymore and also wasn’t going to be tricked and fooled, suckered if you will by old man on a warmongering path plagued by propaganda to brain wash us into attrition.
I didn’t want to fight and either be killed or come back from war with mental and physical disabilities, only to become a forgotten soul by the general public and persecuted by the very ones who tricked and put me in that war.
The Devil is a master of trickery and that evil being tricked millions of people into displacement, disabilities and death. In WW1 we also heard a great deal about this German Corporal and messenger officer named Adolf Hitler.
He ran across no man’s land 100s of times and never once was shot or hit by shrapnel. Also, before the great War, Hitler failed his Art College in Austria and we believe this frustration he had is what led him into such a dark path of destruction in the 30s and 40s.
Question 4:
It must be tuff been dead and not alive, where you upset about your death in 1992?
Answer:
No, I wasn’t, because I had a long and successful life of 94 years and for most in the 20th century that is good considering most people would die a half that age.
You can thank my artist design talent for funding a healthier and longer life. When you die, your spirit is never lost and is ancient and eternal.
The spirit can then travel through time and overtake the live body of someone else. Not all people on this earth are human, many are aliens in disguise coming from all over the universe.
Some are good and some are evil, they come to interact on Earth, sometimes in war. My death has greatly broadened my understanding of God and the universe, Aliens, Heaven and reincarnation.
If you mean well and do good, not trying to aggravate kind people, there is a place for you in Heaven. If you do wrong and continuously commit Evil, you won’t be forgiven by God at the gates of Heaven and you will be casted to the depths of Hell for an eternity.
Question 5:
I know you painted a lot with the group of seven in the early 1920s. How did you feel when you officially were invited into the group in 1926?
Answer:
I was already spending a lot of time in their congregation so the invitation to join didn’t come as a shock. I knew it wouldn’t last forever and it was going to be a wild ride so I said to myself: ‘strap yourself in and brace for impact.
Then I got right down to work for the next 8 years until 1932 then happened the rise of Adolf Hitler in 1933 and then WW2 from 1939 to 1945.
Question 6:
When Hitler took control of Germany in 1933, it was only 1 year since you resigned from the group of seven and decided to be an entrepreneur of Art Design. How did you cope with the shock of WW2 developing and not ending until 1945?
Answer:
I was shocked just like everybody else, by then I was 35 and knew all about the tricks of old man to send us to war, so I decided to keep my mouth shut in regards to political affairs as much as I could to stay off harmful radars.
I decided to explore advanced graphical art design techniques and thought of ones that could generate myself an income through creativity and come up with
the winning poster in a well-funded national competition for Victory Bonds.
My poster design became a national and international sensation for viewers and admirers of all walks of life in both direct and indirect manner/influence.
This would generate myself a commissionairy income for the next 50 years until my death where my art would become so well-known and popular.
I am upset at the timing of the acknowledgements to my design. It seemed too little too late. 2 world wars were very difficult for me to endure and if there was a third one, my body and mind probably wouldn’t be able to handle anymore horror.
Question 7:
In your paintings of landscapes, what type of techniques where you trying to emphasize?
Answer:
I’m trying to add powerful colours rarely or never seen before by explaining/showing new types of paints. I think the colours I used where too futuristic for its era because it seems people only really like and paid millions for my painting years after I was dead.
I also try to include abstract chunks/hoards and globs of unusual colours to my paintings that are not what you see in real life views.
The trees would be a glowing green and the waters would be a glowing blue to the likes of glo's and tints nobody has ever seen. This is probably why I still managed to live a comfortable profitable life, even though I had my doubts about been properly economically sound. The 20th century was a ruff one and I didn’t know how much more of this I could handle.
Question 8:
In WW2 you were in a special WW2 war artist program. After you died where you upset your ‘Gathering Storm’ painting was sold for over 1.5 million, 24 years later?
Answer:
Off course I was. You know I lost a lot of powerful paintings throughout my life on Earth to unforeseen circumstances. I managed to preserve this one by fighting tooth and nail over it.
Why couldn’t they pay me 1.5 million for it in the 1980s when I was in my late 80s and could’ve really used the money? Off course they had to wait nearly 25 years after my death to fork up the cheddar.
Question 9:
After WW2 you were in a special sponsorship program to go out west and paint the mountains, how was this for you?
Answer:
After WW2 I was extremely exhausted and beleaguered been involved in 2 world wars so I was able to get free travel on the Canadian railway out west but only to the southern portion of the mountains.
We didn’t go too far north which I was glad about. I didn’t want to risk getting lost, injured or die in the great north.
The experience turned out to be a great one. They also gave us free room and board out there and I was able to make history with some incredible paintings. It was a pleasurable thing to do in my 50s after the world wars. It was therapeutic to my PTSD I developed from too much attrition in my early part of life.
Question 10:
In your 60s you were fed up in your life so far of been the victim of plagiarizing, forgering and stealing of your artistic ideas and impressions. What did you do to combat this art atrocity?
Answer:
I was furious about this and I didn’t want to take the law into my own hands and risk imprisonment for my beliefs so I decided to work in conjunction with the Canadian Police forensics branches to collect, compare and prove forgeries to them of my work.
Then I would start and complete legal proceeding so they would be punished legally for their crimes and also to face deterrence’s that would prevent the spies, liars and thieves from reoffending their crimes and further provoking, instigating and insinuating a foul reaction from me.
Instead of me doing that illegally, I chose to use my mind and skill to stop them in a totally legal manner and without catching any charges myself that I could be convicted for.
They tried to forge my abstract, bright colours, stillness & ominous, my calligraphy, simplification, elimination of non-essentials, nationalist expression, symbolist, post impression, simplified monochromatic forms, etc.
Myself and the police worked together not to allow forgeries through my combined special techniques and details.
When I died, it seems that is when I received most notoriety of my work but during my life, I believe I helped the idea that Canadian art could be important and that it could make noise and that it could earn a place on the Canadian and International stage!
Interviewer:
Ok, thanks for the heartfelt answers!
END OF INTERVIEW.
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'The 20th century futurism movent':
-A collection, by nick folkes;